The house at number 28 Rue Beaumont / Photo Aloyse Anen The Anen brothers create the Association Radio Luxembourg to run the station. 1926 The station broadcasts records, sports results on Saturdays, and live concerts performed by an orchestra from their attic studio, as well as from outside. The first presenters speak mainly Luxembourgish, but also German, French and English. The transmitter’s power is boosted to 150W. In France, the Bokanowski decree aims to strengthen the state monopoly in broadcasting. It authorises the existing private commercial radio stations only until 1 January 1933 – by this date they will come under the guardianship of the State. Owners of such radio stations, like Radio Paris and Radio Toulouse, start looking for new opportunities outside France. Some turn towards Luxembourg. The Orchestra of Radio-Luxembourg 1927 The Association Radio Luxembourg is granted a subsidy by the Luxembourgish State to install a new antenna. 1928 The transmitter’s power is boosted to 250W. The same year, François Anen accepts the outgoing 3kW transmitter from Radio Toulouse, for use in Luxembourg.

A French–Luxembourgish study syndicate is created, with the aim of installing a powerful radio station in Luxembourg. Named Blue Star Radio, it is represented by the Luxembourgish sports journalist, Alphonse Steinès, and has the financial support of the Banque française et hollando-américaine. 1929 The same aim is pursued by two more companies created in 1929: On 27 May, the Société Luxembourgeoise d’Études Radiophoniques (SLER), led by the French Compagnie des Compteurs, is officialised. 29 July, sees the officialisation of the Compagnie Nationale de Radiodiffusion Luxembourgeoise (CNRL), led by Jacques Trémoulet, head of Radio Toulouse. The CNRL – in which the Anen station has been integrated, and which was given the frequency of 223m by the Prague Plan in January – starts building a transmitter site in Cessange (Kohlenberg) and begins broadcasting under the name Radio Luxembourg. François Anen is involved in both companies. The first Luxembourgish law regulating radio broadcasting is published on 19 December.

The law states that any radio station has to be authorised by the head of the Postes et Télégraphes administration. The 1930s CLR (Compagnie Luxembourgeoise de Radiodiffusion) is born. The company becomes a European pioneer by broadcasting a unique programme in several languages using the same frequency. 1930 In January the CNRL is ordered by the Luxembourgish authorities to stop broadcasting Radio Luxembourg. The SLER obtains the exclusive licence for radio broadcasting from the Luxembourg Government. A 25-year concession agreement is signed on 29 September. 1931 The members of the SLER found the Compagnie Luxembourgeoise de Radiodiffusion (CLR). The main shareholders are CSF, Agence Havas (both already associated in Radio Paris), I&P, Banque de Paris et des Pays-Bas, Compagnie des Compteurs, and the Banque Industrielle Belge. The headquarters of the CLR is established at 53, avenue Monterey in Luxembourg City. François Anen becomes technical head of the new company. The construction of the transmitter site in Junglinster begins.

Prince Felix of Luxembourg lays the first stone of the transmitter in Junglister / Photo Agence Trampus The Villa Louvigny / Photo Aloyse Anen / ©RTL Group Part of the Villa Louvigny – once a 17th century fort located in the heart of Luxembourg City – is rented as headquarters for all radio activities except transmission. 1933 An orchestra is founded under the direction of Henri Pensis. This will become the famous Orchestre Symphonique de Radio Luxembourg. After an experimental programme, Radio Luxembourg makes its first regular long wave broadcast on 15 March in French and German, from the Villa Louvigny’s studios, using the most modern and powerful (200kW) transmitter in Europe: the site in Junglinster. Broadcasting centre in Junglinster/ Photo Aloyse Anen / ©RTL Group On 1 January 1933 Stephen Williams, Directeur-Général of Radio-Publicity, a British company chaired by Frenchman Jacques Gonat, which holds the concession for English programmes at Radio Paris, begins presenting sponsored broadcasts from the French capital.

Because commercial broadcasting was prohibited at the time in the UK, sponsored programmes in English were broadcast from the continent (Radio Normandy, Radio Lyons, Radio Toulouse, Poste Parisien, Radio Paris). As Radio Paris was to become a state-run national station, an alternative had to be found for broadcasting English programmes. What better alternative than the most modern and powerful transmitter in Europe? On Sunday 3 December, English programmes are simultaneously broadcast from Radio Paris and Radio Luxembourg, and finally transferred permanently to Luxembourg the following Sunday. Stephen Williams at the microphone / Radio Pictorial n°55 / February1, 1935 The international and multilingual programme of Radio Luxembourg is a huge success in Germany, Great Britain, France and Belgium, and astonishes CLR’s competitors. Concerns are raised especially by the BBC and the British Post Office concerning the power of the transmitter that enables Radio Luxembourg to be broadcast throughout Britain, undermining the BBC’s monopoly. The British authorities also protest vehemently against the wavelength (1250 metres) chosen by the Radio Luxembourg management and which has been denied to the Grand Duchy at the European Broadcasting Conference in Lucerne, claiming it would interfere with British aircraft wireless services.

The BBC tries to persuade leading British newspapers not to publish the Radio Luxembourg schedules. 1934 In February, Radio Luxembourg switches to a new wavelength of 1304 metres, which had been allocated to Warsaw by the Lucerne Wavelength Plan. This is regarded as illegal by the International Broadcasting Union who has however no coercive power. English programmes from Luxembourg enjoy growing popularity among British listeners, especially as the Sunday broadcasts on the BBC are rather austere in accordance with the Sunday Observance restrictions, whereas Radio Luxembourg broadcasts jazz and light music. Christopher Stone joins the commercial station Radio Luxembourg in September. This sensational move is considered an act of lèse-majesté by the prim BBC, who consequently blacklists him as well as other British artists who work with Radio Luxembourg.

Christopher Stone / Radio Pictorial September 28, 1934 Christopher Stone and Stephen Williams in the studio at Villa Louvigny / Photo Aloyse Anen / ©RTL Group 1936 A legal battle between the CLR and Radio Publicity (London), the English language concession company, leads to the revocation of the concession in favour of the newly created Wireless Publicity Ltd, which is actually a subsidiary of the ostensibly private firm Cable & Wireless Ltd, whose vast undersea cable network was the subject of considerable British government interest and secret subsidies. Under the impulse of this new agent, Radio Luxembourg expanses with daily programmes in English and asserts its dominance until 1939. 1937 Following the ongoing success of Radio Luxembourg, CLR buys the Villa Louvigny and extends the premises. 1938 From May 1938 to September 1939 a De Havilland Dragon airplane christened ‘The Luxembourg Listener’ (Olley Air Service) makes a twice weekly return trip from Croydon to Esch-sur-Alzette carrying taped programmes, records and passengers.

The ‘Luxembourg Listener’ / Radio Pictorial n°231 / June 17, 1938 In Britain audience figures peak at around four million. 1939 On the eve of war, the Luxembourg government, concerned about maintaining Luxembourg’s neutrality, asks CLR to stop broadcasting – a decision already considered by the company’s management. Regular programmes cease on 2 September, and broadcasting is limited to official government communiques and music. Less than three weeks later, on 21 September, operations are closed down. The 1940s War time. The government demands that CLR suspends its activities and, from 1944 onwards, the Allies use the radio station. Radio Luxembourg begins broadcasting again in November 1945. 1940 Nazi soldiers at the entrance of the Radio Luxembourg studios / Taken from the German propaganda book ‘Moselland : ein Bildbericht’ by Frid Muth and Herbert Ahrens On the day of the Nazi invasion, Radio Luxembourg installations are among the first objectives of the Wehrmacht in the Grand Duchy.

Four weeks later, German troops restart the station, using it for their communication until October 1940, when the transmitter is incorporated into the Reichs-Rundfunk-Gesellschaft and used for Nazi propaganda. Radio Luxembourg is used as a relay station by German stations such as Radio Hamburg to broadcast Nazi propaganda to Britain from 1940-1945 by Irishman William Joyce, better known as Lord Haw-Haw. 1944 US soldiers at the Radio Luxembourg studios / From the movie ‘Allied soldiers use Radio Luxembourg during WWII’ American troops come to liberate the country. After an agreement between the Luxembourgish Government in exile and the United States, the transmitter, which has been damaged by the German army, is made available to the Psychological Warfare Division (PWD) of SHAEF (Supreme Headquarters Allied Expeditionary Forces). The PWD was an Anglo-American organisation that used radio broadcasting to undermine German soldiers’ morale. 1945 The Office of War Information begins to use the station in July, handing over the installations to the CLR on 11 November.

Radio Luxembourg begins broadcasting again on 12 November 1945, with the famous words: “Bonjour le Monde, ici Radio Luxembourg.” 1946 Stephen Williams returns to Radio Luxembourg on 7 January as Director of English programmes. English-sponsored programmes start 1 July 1946. 1947 Radio Luxembourg Advertising Ltd is founded. CLR holds a 75% stake, and Information & Publicity (IP) the remaining 25%. Major General W. H Grey chairs the company, which has its headquarters at 154 Strand, London. 1948 Offices are leased at 34 & 36 Davies Street, and at 25 Brooks Mews, London. At the Copenhagen European Broadcasting Conference, Radio Luxembourg obtains the right to broadcast on 208 metres medium wave. The 1950s The use of a medium wave transmitter contributes to the spectacular development of the CLR’s radio business. 1951 Inauguration of the medium wave transmitter in Junglingster in the presence of Grande Duchesse Charlotte and Prince Félix / RTL Group archives / ©RTL Group CLR’s new medium wave transmitter in Junglinster is inaugurated.

Radio Luxembourg transfers its English programme to medium wave 208. ‘Two-O-eight’ becomes a new reference for young Britons. Part of the broadcasting on medium wave is also occupied by a programme in Dutch and Luxembourgish. The success of Radio Luxembourg grows day by day. CLR Limited is established. 38 Hertford Street / Taken from Radio Télé Luxembourg – Au carrefour de l’Europe Studios and offices are established at 38 Hertford Street, London. Logo with the winged lion / RTL Group archives The ‘new’ Villa Louvigny is inaugurated in Luxembourg City. The winged lion with the motto ‘Alas Leoni dedit’ (‘It gave wings to the lion’) decorates the front of the building. 1954 Radio Luxembourg Advertising Ltd is taken over by CLR London Ltd. The management of CLR enters into a new era of broadcasting: television. On 1 July, CLR becomes CLT (Compagnie Luxembourgeoise de Télédiffusion) and begins the construction of a TV transmitter and studio in Dudelange.

TV Broadcasting centre in Dudelange / RTL Group archives 1955 On 22 September, the commercial TV channel ITV starts broadcasting from London. This affects Radio Luxembourg as a number of its sponsored programmes move to ITV. Sponsorship now switches mainly to record companies such as Decca and EMI. 1956 Medium wave transmitter in Marnach / Taken from ‘The Station of the Stars’ 1965 The 350kW medium wave transmitter – relocated from Junglinster to Marnach to provide a better reception in England and Scandinavia – goes into service. The 1960s 1964 Radio Caroline, the first of several British pirate offshore radio stations, starts broadcasting from a ship. These pirate stations, broadcasting mainly rock and pop music, are major competitors to Radio Luxembourg. 1966 In June, Radio Luxembourg 208 and the magazine Fabulous link up. The magazine Fabulous 208 is born. 1967 The Marine Broadcasting Offences Act outlaws pirate offshore stations, although some unlicensed radio stations continue broadcasting.

To counter the popularity of these illegal broadcasters and the ongoing success of Radio Luxembourg, the BBC is restructured, establishing Radio 1, Radio 2, Radio 3 and Radio 4. 1968 Radio Luxembourg 208 changes its format, shifting from sponsored pre-recorded programmes to an all-live format with commercial breaks. The 1970s Geoffrey Everitt / Radio Luxembourg 1979 After 25 years at Radio Luxembourg, General Manager Geoffrey Everitt leaves the station and is succeeded by Alan Keen. Under his management, the Radio Luxembourg Roadshows were conceived during which the station’s DJs toured the UK. 1972 The transmitter in Beidweiler / RTL Group archives Powerful long-wave transmitters go into service at the Beidweiler site. The Junglinster transmitters are used as back-up. 1973 Licences for independent local commercial radio stations are awarded by the British broadcasting authorities. The 1980s 1980 Alan Keen leaves Radio Luxembourg after 10 years at the station and is succeeded as General Manager by Patrick Cox.

1989 On 1 September, Atlantic 252, an English-language radio station, is launched in Ireland by Radio Tara as a joint venture between the Irish state broadcaster RTÉ and CLT. The station broadcasts from Trim in the Republic of Ireland. The 1990s CLT continues to expand into new countries, setting up a complementary network of TV channels and radio stations and thus beginning to create families of channels. At the end of the nineties, the merger of CLT and UFA creates the leading European broadcaster and production house, and is a turning point in CLT’s history: CLT-UFA is the European Entertainment Enterprise. 1990 Radio Luxembourg London (RLL) moves its offices from 38 Hertford Street to 74 Newman Street. John N. Catlett becomes General Manager of the station. In August, RTL International is launched. Aimed at Scandinavian audiences, it offers a daytime schedule broadcasting on the Astra 1A satellite using a 24-hour stereo transponder. 1991 The KB1 building in Kirchberg / RTL Group archives The new building at Kirchberg is inaugurated: it will become the Group’s administrative and radio headquarters.

TV activities remain in the now legendary Villa Louvigny. Radio Luxembourg, the medium wave programme that contributed to the reputation of CLT in Europe – particularly the UK – for many decades, stops broadcasting on 30 December 1991. 1992 The satellite and short-wave service is dissolved after exactly one year, at midnight on 30 December 1992. 1993 CLT SA acquires the office building at 74 Newman Street. The New century In October RTL Group sells its 80% share in Atlantic 252 to Teamtalk. 2005 The Legend Is Back! RTL Group is using the new DRM (Digital Radio Mondiale)technology to re-launch Radio Luxembourg in English on several short wave frequencies, notably 7145 KHz, offering a format of Classic Rock. Radio Luxembourg can also be heard as a live stream over the Internet. The Great 208 'Radio Luxembourg' A Brief History It really all began in 1924 when a 100 watt transmitter was constructed for the sole purpose of providing Military Music concerts for listeners in the Grand Duchy of Luxembourg.

Because of the proximity of the country it made an ideal location to broadcast to other neighbouring nations, in particular the United Kingdom. In 1929 the Luxembourg Society for Radio Studies was formed to persuade the government of Luxembourg to grant them a commercial licence, it was duly approved and at the end of that year the Luxembourg Broadcasting Company was established, identifying itself under the name of Radio Luxembourg. A few years later programmes aimed at the British Isles began. These were broadcast on the Long Wave Band which allowed a strong enough signal to be received in the UK. The BBC and British Government were of course hostile to this venture, accusing the broadcaster of being a 'Pirate'. In 1934 the European Wavelength Plan came into effect, this allocated spectrum to various countries for radio transmission use. By now a 200 kilowatt transmitter was being used on the frequency of 230 KHz or 1304 metres, and regular programmes began being broadcast in French and English. Throughout the 1930’s Radio Luxembourg boasted a huge audience in the UK, the programmes mainly comprising of popular dance music and sponsored output.

Here are a few examples of sponsored shows aired in the mid 1930s Sundays 12:00 Noon – Musical Voyage – with Bobbie Comber and Reginald Purdell and sponsored by Halls Wine. 12:15 pm – Do-Do Broadcasts – sponsored medication programme "for asthma suffers". 12:30 pm – Golden Hour of Music – the Irish Concert recorded programme 1:00 pm – Zam-Buk Broadcast – the latest dance music sponsored by a medication "for cuts, burns and bruises." 1:30 pm – Littlewoods Broadcast – sponsored by a football pools coupon company in Liverpool 2:00 pm – English service ends until 2:30 pm. 2:30 pm – Vernon's All-Star Variety Concert – gramophone records presented by a football pools company. 5:30 pm – League of Ovaltineys – presented by the makers of Ovaltine. During the war years, the government of Luxembourg shut down the station. The conquering German army commandeered it as a propaganda tool, broadcasting to the UK, featuring the infamous William Joyce, comically named by the British Public ‘Lord Haw Haw’.

After liberation the Americans took over the station, using it for a similar purpose. In the 1950’s the commercial English service started again transferring now to the more familiar medium wavelength of 208 meters. This meant that satisfactory coverage of the UK could only be achieved after dark. Radio Luxembourg became the night time appointment to listen. Many Programmes originated at this time would later move over to commercial television, Opportunity Knocks was a case in point. Here’s a typical week schedule of this period: Sundays: 6:15 pm – Ovaltineys' Concert Party – a version of the popular show that was originally broadcast before World War II over the original Radio Luxembourg long-wave station. 9:15 pm – Leslie Welch – "the famous Memory Man.". 10:45 pm – The Answer Man – "anything you want to know.", (Sundays, Wednesdays, Fridays). 11.00 PM – Top Twenty – introduced by Pete Murray. Mondays: 7:15 pm – The Adventures of Dan Dare, "Pilot of the future" – fifteen minutes serial heard Monday to Friday and featuring the voice of Noel Johnson who also played the part of Dick Barton on BBC radio.

This serial began on July 2, 1951 and ran for five years. 9:30 pm – Perry Mason serial heard Monday through Friday. 10:55 pm – Soccer of Leicester – odds announcement. Wednesdays: 8:30 pm – The Story of Dr. Kildare – every Wednesday starring Lew Ayres, produced in Hollywood by MGM. 11:00 pm – Back to the Bible – religious broadcast. 8:00 pm – Music From the Ballet. 8:30 pm – Movie Magazine with Wilfrid Thomas. 1:00 pm – Old Fashioned Revival Hour – religion (Charles E. Fuller) Fridays: 8:00 pm – Scottish Requests with Peter Madren. 11:00 pm The Voice of Prophecy – Adventists' Union religious programme. Saturdays: 7:00 pm – Chance of a Lifetime – quiz programme with Dick Emery. 10:00 pm – At Two-O-Eight – dance music with Russ Morgan Orchestra compered by Pete Murray. 11:00 pm – Bringing Christ to the Nations – The Lutheran Hour.

The station employed many British announcers who would later become household names these included: Pete Murray, Teddy Johnson and Warren Mitchell. Pete Murray As we moved into the 1960s the station engaged a team of live Disc Jockey’s broadcasting Live from the Luxembourg studios in the Grand Duchy, supplemented with pre-recorded shows produced in the broadcaster’s London studios, Much of the output during this period were Quiz shows and sponsored religious broadcasts. Radio Luxembourg's London Studio's: 38 Hertford Street W1, London 38 Hertford Street W1, London Butlin's Beaver Club Take Your Pick – with Michael Miles. This I Believe – the Edward R. Murrow show presented by Sir Basil Bartlett. Candid Microphone – The radio equivalent of Televisions Candid Camera Frank and Ernest – religion from Dawn Bible Students Association. The World Tomorrow – with Herbert W. Armstrong, Lucky Number – with Keith Fordyce. The Capitol Show – Mel Thompson presenting Capitol Records new releases. Double Your Money – Hughie Green. Rockin' To Dreamland – with Keith Fordyce playing the latest British and American hit records. The Hour of Decision – with Billy Graham.

Lucky Couple – with David Jacobs recorded on location in the UK. Italy Sings – presented by the Italian State Tourist Office. Record Hop – Benny Lee presents the latest Columbia and Parlophone records. Amateur Football – results of the matches played today. Alan Freed, the remarkable American disc-jockey whose programmes in the States cause excitement to rise to a fever pitch, presents "Rock 'n' roll". Tonight – Peter Haigh presents news, music and personalities recorded at the Embassy Club in London. Philips' Fanfare – records from this label presented by Guy Standeven. The Presenters that recorded shows at the London Studios were: Peter Aldersley Jimmy Young Muriel Young In the 1960’s Luxembourg’s commercial monopoly was challenged by the arrival of the real pirate radio stations. These were stations broadcasting on ships and structures outside the 3 mile limit of territorial waters. The most famous of these being Radio Caroline which had full national coverage with two ships, one anchored off the south east of England and the other off the Isle of Mann. Luxembourg needed to compete in this market, so pre-recorded sponsored show were dropped in favour of Live radio presenters, much in the same vein the offshore broadcaster.

The Life of the British pirates was cut short in 1967 when the UK government passed a law called the ‘ Marine, &c., Broadcasting (Offences) Act 1967 , which made it an offence for any British Citizen to work on, or supply any of theses stations. Following the demise of the pirates, Luxembourg was once again the only provider of popular music, well at least during the night. The BBC had launched Radio 1, which was a carbon copy of the pirates and offered popular music entertainment during the day. There were a couple of offshore stations broadcasting off the Dutch coast also that provided some night time competition. The Colourful Broadcasting Vessel 'The Mebo 2' Home to Radio Northsea International During my early teenage years I was a massive fan of Radio North Sea International, and have fond memories of tuning between that and Luxembourg as each signal would fade away and return. In 1973 the BBC radio Monopoly was broken when the first ILR (Independent local Radio) Station started. This was London’s News and Talk Station LBC. Many stations followed in quick succession and the popularity of Luxembourg declined.

Although the station continued to broadcast for many years, adding satellite distribution to provide as a high quality stereo option, It finally closed the doors of 208 on 30th December 1992. Take a look at this BBC '40 minutes' documentary for the full story of the great 208. Part 1 The audio files on this site are stored in "REAL AUDIO". To listen to them you need Radio Luxembourg broadcasted around Europe for 59 years (1933-1992). Due to the 55th anniversary of the station in 1988 former Luxy jock Noel Edmonds took a look back in the archives of 208. Read and listen ... Radio Luxembourg's rise to stardum is a story with all the ingrediants of a bestseller. Intrigues, entertainment and more than a dash of glamour. When it started in the 1930s and later in the 40s and 50s it became such an important part of the broadcasting fabric that millions prefered it's laid back style to the more formal tones of John Reed's BBC.

In fact it was following the pattern of the growing number of english language commercial radio stations on the continent. Luxembourg was a late starter but it had the most powerful transmitter of them all. Owned by a french company it promised international broadcasts which would not favour any nation. The english service was handled by an agency ('Radio Publicity Of London'). They appointed 23 year old Stephen Williams who'd been directing english programmes at Radio Paris to be principal announcer. He remembers arriving in December 1933 with several hundred records and a couple of hampers of musical arrangements. Stephen Williams (419 K/1:54 min) 'Tune in' - for many years Radio Luxembourg's signature tune. In it's first formative month the new radio station switched wave lengths three times. And there lies the secret of why even today Radio Luxembourg retains the slight taint of piracy for it's origance are not strictly legal. The country - no larger than greater London - had been allocated a low power medium wave frequency for internal needs. The radio station refused to accept it and chose long wave instead because to make money from foreign language commercials the signal needed to cover great distances.

The british government called the broadcasts objectionable and through the foreign office condemn the violation of international agreements on radio. The BBC embarked on a lengthy battle to scupper the station which it described as a scandal, insolent and a pirat. Stephen Williams (462 K/2:06 min) The BBC together with the post office made sure the broadcasts could not be re-laid by landline to Luxembourg. So the company encouraged advertisers to pre-record programmes in London on huge discs or film soundtrack. These were created up and flown over weekly by Thomas Cook. The newspaper propriety association where as opposed to Radio Luxembourg as the BBC. They were apolled to discover that most of the sponsors where also advertisers in the big national dailies. Worried about the potential loss of revenue they refused to publish programme details in their papers. A situation that lasted until the 1950s.

However: they were carried in the 'Radio Pictorial Magazine' who's editor wrote: 'The BBC give their best but that need not defiance to the fact that there are additional programmes of an alternative character.' Programme presenter (155 K/0:41 min) By the end of 1934 sponsored programmes in english were on the air daily. From noon to midnight on sundays and for shorter periods during the week. The Luxembourg authorities did not exactly ignore the british protests over commercial broadcasting. They probably invited the BBC to buy all the advertising space to keep the sponsors off the air. The BBC then tried exerting moral pressure on british performers warning anyone who was offered work on Luxembourg that it might be to their disadvantage to except. Christopher Stone credited with the title 'The first discjockey' was bared until the end of the war after broadcasting on Luxembourg in 1934. Mind you he was paid a princely 5.000 pounds a year for his work and he received 6.000 letters after his first programme alone. But noone really knew the size of the audience as Stephen William admittes.

Stephen Williams (293 K/1:19 min) From the beginning the sponsors were allowed to create their own programmes although there were strict rules on the length of the sales messages. The football pools promoters and soap companies were the financial driving force. They were joined by patent medicians, remedies and department sores. Even an encyclopedia of dogs and of course the beverages. Of these the fondest memories are reserved for the drink with it's own badge, secret code and rulebook. Ovaltineys (286 K/1:17 min) Roy Plummley became one of the first of many familiar voices who made their names on continental commercial radio. Another who appeared regularly in the 1930s was a young canadian Huey Greene. Huey Greene (148 K/0:39 min) As Europe lumbered helplessly towards the second world war Stephen Williams remembers being in the studio when news was broadcast the murder of the austrian chanclor. Just in time he noticed the title of the next piece of music: "Vienniece caprices". As tension heightened even the children messages from the shied Ovaltineys came under scrutinee.

Stephen Williams (356 K/1:36 min) The war changed the sound of european radio. The continental commercial stations went off the air as the german invasion spread. At home the BBC softened it's attitude and employed several of the presenters who'd found themselves out of the job including Stephen Williams. Luxembourg however continued to broadcast but the sound changed from entertainment to nazi propaganda. The mocking voice of William Joyce who became better known as 'Lord Haw-Haw' because of his wild and fabricated news stories. Lord Haw-Haw (60 K/0:15 min) While the nazi broadcasts continued the british government was hatching it's own plans for Luxembourg. It was determined that uncontrolled commercial broadcasts to Britain should not be allowed to resume. But it also had a secret scheme to use the transmitter for the BBCs eastern Europe services once the war was over. By September 1944 events began to move quickly. BBC news bulletin (97 K/0:25 min) American troops from psychological war division took over the radio station with Britain's backing. The broadcasts were designed to build up the moral of all the allied prisoners of war.

When peace came the Americans turned Luxembourg into an entertainment station for their forces in Europe. The Americans were impressed and open negotiations with the Luxembourg administration for the continued use of the station as 'The voice of America Europe'. But the talk broke down over money. This was Britain's chance. Stephen Williams was asked to return to Luxembourg and reopen the english service. But not to disclose he was working in close liaison with the government and the BBC. Cabinet papers from the period show that in October 1945 the government was trying to purchase a two year lease. British government plans (97 K/0:25 min) The authorities in Luxembourg who were prepared to cooperate in an american takeover told the british that they must negotiate with the stations french owners. The talks lasted a year but fell through when it emerged that the french government was also trying to conduct a private deal. On September 12th 1946 Radio Luxembourg announced that english sponsored programmes would begin again at the end of the year.

Geoffrey Everett (53 K/0:13 min) Geoffrey Everett who worked for Luxembourg for almost 25 years starting as an amateur football commentator and ending up as general manager says: Geoffrey Everett (121 K/0:32 min) But the audiences returned. Lured initially by request shows and in 1948 the first chart countdown on british radio. The Top 20 made the name of its first presenters: Teddy Johnston and Pete Murray. And listening at eleven o'clock on a sunday night snowballed into a national institution. Teddy Johnstone (191 K/0:51 min) As listening figures overtook the pre war levels sponsors again cued for air time. There was still plenty of popular music in the schedules but now the range also included a mix of comedy, drama and quiz shows. Radio Luxembourg's popularity helped other businesses. The expansion of the music press and the independent recording studios. One of the most prolific was 'Star sound' which had taped - yes: tape recording had arrived - Luxembourg's first post war show. 'Star sound'was now busily turning up programmes from adventure serials like 'Perry Mason'.

Opportunity knocks (363 K/1:38 min) The choice of these programmes rested with the sponsor all Luxembourg retained was the right of veto. The output was a true mesh-mash that did generate the birth of a number of original ideas including 'Take your pick' with Michael Miles and 'The mystery of box # 13'. And 'W money' - radio's biggest cash quiz game with it's 32-pound-question. 'Take your pick' went on to capture an audience of over 7 million in 1955. That's more than were listening to 'Hancock's half hour', 'Housewifes choice' or '20 questions'. But some of the programmes of the 50s like 'Opportunity knocks' actually run first on the BBC. Geoffrey Everett insists: none of them was pinched. Geoffrey Everett (205 K/0:55 min) But: according to Geoffrey Everett it's not Jack Jackson's show or any other show that people remember most from the period. They invariably recall a curious advertisement which claimed it could help listeners to win the football pools.

Horace Batchelor (279 K/1:16 min) Countless listeners continued to assume that Radio Luxembourg was situated in Britain. Huey Greene who'd been a pilot during the war decided to find out more about the station which he was supplying programmes. Huey Greene (419 K/1:54 min) According to Geoffrey Everett after the breakdown of the governments plan to take over Luxembourg the BBC resumed it's pressure on performers to steer clear of the commercial station. Geoffrey Everett (204 K/0:55 min) In 1951 that's just what listeners had to do. For the parent company decided it could make more money using the long wave transmitter for the expanding french service. English programmes were switched to 208 meters medium wave and broadcasts were confined to evenings only. Despite background whistles and a fading signal '208' became the best known radio frequency until the birth of 'Radio 1' 16 years later. Luxy programmes (160 K/0:43 min) There have always been problems over the quality of Luxembourgs sound because of the distance it had to travel.

In 1937 the BBCs deputy director general described the difference between the two stations as between an early gramophone and the latest HMV100 Ginny wonder. Geoffrey Everett (153 K/0:41 min) Jimmy Saville; another broadcaster who established his career on Luxembourg. He was working in a Leeds dancehall when he was offered a job as a host on a programme for 'Warner Brothers'. During his nine years tint on '208' he won the coveted top british DJ award eight times. Jimmy Saville (85 K/0:22 min) Jimmys programmes currencided with the most dramatic change yet in Luxembourgs output. The radio station issued a triumphful press release in 1957 proclaiming that the competition from television was not affecting the audiences - which was true. However commercial TV was zapping 208s advertisers and even some of its programmes. Geoffrey Everett (557 K/2:32 min) Perhaps 'lost' is rather harsh but Luxembourg certainly had to find a new market. The record companies were ideal because this was the swinging 60s when Edda Lessons were recast into teenagers.

A brand new consumer group with money to spent. They were egged on by whole new bread of advertisers. Commercial by the ROLLING STONES (104 K/0:27 min) Luxembourg set it's sights on youth and non-stop-music. And in doing so millions of teenagers listened secretly on transistors under the bedclothes at night. One of the stuff DJs of the time was Chris Denning : Chris Denning (281 K/1:16 min) Suddenly the pirates were the rebels. Luxembourg emerged -as the BBC has earlier- as the tired radio station that sounded out of date. The programme ideas were no longer fresh. Chris Denning recalls : Chris Denning (298 K/1:21 min) In 1968 Radio Luxembourg disguarded it's famous sponsored shows and followed the BBCs lead on the new 'Radio One' by introducing all live programming along with spot adds. A formatte that still existed until the end of the station. To present this they needed a new team of disc jockeys. '208' in the late 60s was the only place for inspiring DJs.

'Kid' Jensen came all the way from Canada to join the team. David 'Kid' Jensen & Tony Prince (174 K/0:46 min) Could they really talk that fast? So what where they make of that sound back in those early days. Pioneer Stephen Williams was never impressed : Stephen Williams (310 K/1:24 min) By 1967 taped programmes from London became fewer as 208 went life from the Grand Duchy. The team included Tommy Vance, Don Woudell, Tony Brandon and Stewart Grundy. And was move in and towards the 70s the team included Paul Burnett, Tony Prince, "Kid" Jenssen, Peter Powell, Dave Christian, Bob Stewart, Rob Jones, Stuart Henry and Benny Brown. And here we are in the 80s. Do you remember Steve Wright, Mark Wesley, Tony Blewitt, Davy Swout, Howard Pearce, the return of Keith Fordyse and Timmy Mallitte? And perhaps it was Radio Luxembourg that first inspired Mike Reed to write poetry. Mike Reed (60 K/0:15 min) But times changed.

Already at the end of the 80s Luxembourg lost it's top position which they owed so many years. Other stations that more or less copied the succesfull market strategies took the peak position. Another point: LUXY could only be heard on 1440 AM meaning bad sound quality and fading in and out. Most of the competitors as BBC Radio 1 broadcasted on FM. And finally there are many insiders in the business saying that LUXY lost its clear format and was not as unique than it has been in the decades ago. To look at the problem from the commercial point of view: CLT had to recognize decreases in the quantity of the listers and that of course meant less money from the industry for spreading their commercials. That's why CLT decided to close down the frequency 1440 AM on December 30th 1991. From that day LUXY broadcasted only on short wave and via the ASTRA-satellite on the radio channel of "Sky TV" as already since 1990. But this change could not solve the problems. Though broadcasting via satellite enabled LUXY to reach millions and millions of people throughout the whole Europe; this meant also the bad news.

As it is impossible to get honest ratings of this huge area the industry again decreased the number of commercial spots and that meant that RADIO LUXEMBOURG was sentenced to dead finally for December 30st 1992. Owner CLT may have taken this decision already a few years ago when in 1989 they founded "ATLANTIC 252". On this last day broadcast very many of the former DJs of Luxy reported their impressions live in the studio or by phone during the shows. As you may think it was no happy goodbye when DJ Mike Hollis spoke the very last words before the station closed at 24 h GMT. Goodbye Radio Luxembourg (128 K/0:34 min) Maybe programme director John Catlett brought it to the point saying that night: 'This station was the first in Europe to have success by programming what people wanted to hear instead of programming what the government thought people wanted to hear. That is why we could show such success against the BBC in England'. True. Luxembourg has for a long time been Britains only independent commercial music station. And no one can take away the contribution it's made to popular music.

It's warmth and spontaneous style has influenced radio presentation until today. 'It's time to say good night' (254 K/1:09 min)

Question: Which radio station, which closed in 1992, was 'Two - O - Eight, your station of the stars'?
Answer: Radio Luxembourg